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Nick Eriksson

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About Nick Eriksson

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  • Birthday 02/12/1988

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    Devon, UK / London, UK

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  1. Thank you very much for your support guys! Not long to go now!
  2. Dear all, Many members of these forums may remember an ambitious project entitled 'Ellston Bay', which launched a Kickstarter campaign a couple of months ago. Following further support from Kodak Motion Picture Film, and the casting of John Rhys-Davies, we have re-launched our campaign for a final time. With almost three days left, I am reaching out to ask for your support in helping bring this ambitious project to life. We have raised 90% of our total fundraising goal, but just require that little bit extra to help us across the finish line. This is a very special project, and one of the first short films in years to be originated entirely on the 8-perf 35mm VistaVision format. https://www.kickstarter.com/projects/1969323425/ellston-bay-the-film-final-campaign Thank you very much for your time, Best regards, Nicholas Eriksson Director / Cinematographer - 'Ellston Bay'
  3. Hi Doug, Thank you so much for re-pledging, it is greatly appreciated. This weekend is a critically important stage of the Kickstarter campaign, so many thanks for sharing that link! Please share more! For any of you guys out there interested in seeing VistaVision brought back to the silver screen, please consider pledging to our Kickstarter campaign - no amount is too small, even a couple of dollars can make all the difference! https://www.kickstarter.com/projects/1969323425/ellston-bay-the-film Thank you once again for your support guys! Nick
  4. Dear Doug, Thank you for your interest in the project, and for supporting! I have some wonderful news to reveal to you all - today we announced our casting of John Rhys-Davies in the project. Please find further details below: https://www.kickstarter.com/projects/1969323425/ellston-bay-the-film?ref=user_menu We have a long way to go, but we need as much assistance to make this project a reality, and to bring VistaVision back to the big screen! Please pledge and support, every little helps! Warm wishes, Nick
  5. Thank you very much for that list David, I was unaware that Technirama was so popular. I will chase some of these down on BD, I bet that many would look fantastic these days. Nick
  6. Hi Tyler, Technirama looks like an incedible format, have really wanted to watch the Spartacus Blu-Ray for quite some time, as I understood it is one of few films shot in the format. Blimping is probably possible to an extent, but I don't think there is any avoiding the fact that it will then become a very bulky piece of kit. The advantage of the Beaumonte VistaVision camera is that it is extremely lightweight and easy to move. It was in fact designed for Steadicam use. I have been working closely with the guys over at Camera Revolution in Shepperton Studios, UK for the past couple of years. They rent the Beaumonte bodies. All the best, Nick https://www.kickstarter.com/projects/1969323425/ellston-bay
  7. Hey Kenny, Thank you so much for your support! I hope to tell a tight psychological-thriller, whilst celebrating the works of H.P. Lovecraft, and of course resurrect an incredible motion picture format that is simply not utilised enough in modern filmmaking. I will be sure to keep you guys updated to our progress, we still have a little while to go yet. All the very best, Nick https://www.kickstarter.com/projects/1969323425/ellston-bay
  8. Hey Tyler, We recently ran a steady-test with the Beaumonte VistaVision camera, and as you can see, it is pretty loud! https://www.facebook.com/ellstonbay/videos/1211945905517149/ I do not have a DB reading unfortunately. However, it is tolerable and workable outside in large open spaces. A small room with hard walls accentuates the sound levels of the camera. This is nothing compared to IMAX of course! Thank you for your support Tyler, it is a great privilege to be able to bring this incredible format back to the silver screen. Best, Nick https://www.kickstarter.com/projects/1969323425/ellston-bay
  9. Hi Tyler, Thank you for your interest, Sound is indeed an unavoidable issue when shooting with the Beaumonte VistaVision cameras. 'Ellston Bay' features very little in the way of dialogue, and certainly relies on a great deal of ambient / wildtrack recording for 90% of its running time. I knew that Ellston Bay would be well-suited to shooting with MOS cameras long before committing to the format, and it wasn't an afterthought! We did consider blimping the camera early on, but it is quite loud, and after consulting with our Sound Recordist, we have decided to record as we go. By this I mean to say that we will essentially be performing our ADR session on-set, and breaking down the individual sounds we require. We will run a number of 'clean' takes in addition to the selective recordings we require (with no camera running) so that we have a wealth of high-quality options available to us. This will mean a slightly slower production pace, but sound is critically important, and so it is of great importance that we capture the highest quality recordings for use later in post-production. I am happy to report that we have a number of highly experienced professionals in both Sound Recording and Sound Design attached to the project, so we will not be cutting any corners! All the very best, Nick
  10. Dear all, My name is Nicholas Eriksson and I am currently in the process of raising Kickstarter funds for a highly ambitious short film project entitled 'Ellston Bay'. Our plans include originating on the rarely-used 8-perf 35mm VistaVision format, and we hold a long-term desire (depending on our fundraising) to strike a 15/70 IMAX print for final exhibition. Would you be so kind to take a look at the links below for further details regarding the project? Any support is greatly appreciated. www.ellstonbay.com www.facebook.com/ellstonbay https://www.kickstarter.com/projects/1969323425/ellston-bay For further details about myself and my work, please see my personal website link below. www.nicholaseriksson.com Thank you for your time, Best wishes, Nick Eriksson
  11. Dear David, Thank you very much for your comprehensive reply, this is all very enlightening. I believe I will use the 85 filter to shoot a greyscale at the beginning of the roll. I am a little wary of the colourist taking out the the intended uncorrected tungsten cast, and then dialling blue back in, as I always like the timing to move subtly away from the negative, and not undergo any drastic changes. I believe I am also right in thinking that uncorrected tungsten shot under daylight is a very specific type of blue, and not 'generic' (if there is any such thing as generic blue!). Thank you very much for your response, Just to let you know that this project is being shot on Super 16mm. Best wishes, Nick Eriksson
  12. Hi All, I am looking for a second opinion on an upcoming short film that I am shooting. In order to give the film a cool, blue cast right off the bat, I have chosen to shoot uncorrected Fujifilm Eterna 250T in daylight. Having already undertaken a couple of tests already, I am satisfied with the effect this provides. We will of course undertake additional tweaking in the timing session with the Colour Timer on the project. I am a little unsure as to whether it is a good idea to instruct my camera assistants to shoot a grayscale? I will be attending the flat grade transfer to HDCAM at the lab, and will be further finessing the timing in a separate session with our dedicated Colour Timer at a later date. Therefore, is there anything to gain by shooting a grayscale, given that I do not wish the lab to make any changes to our image at the time of transfer? Any feedback on this matter is greatly appreciated. Many thanks in advance, Nick Eriksson
  13. Dear John, Thank you very much for your feedback. Your response is greatly valued, and it is interesting to read your notes on the project. The aesthetic that I brought to the film was to have Remi's home as a place of warmth and comfort (very warm colours + skin tones). This would be in stark contrast to the bleak London winter landscape (a cold uncorrected tungsten blue). I then decided that when we were in any location requiring illumination with artificial lights, I would go with a sickly fluorescent green. This approach was designed to help illustrate Remi's uncomfortable position, as he attempts to navigate the new foreign landscape and battle with homesickness. With regard to the candle + his makeshift home, I was actually a little worried I wasn't getting enough light, so I think maybe I played it a little too safe and consequently had a bit too much. This didn't jump out at me in the grade, but in retrospect, maybe we should have spent a little more time on that scene. Another element regarding his makeshift home that I played too safe was the warmth of the light. I would have liked the interior of his home to be even warmer than it looks in the final film. I completely agree with you regarding handheld camera movement, I am not a fan myself. I think in many cases the handheld approach is a very lazy way of composing an image and blocking action. However, despite this, some handheld was present in Remi, and I think myself and the Director did decide on a healthy balance of setups in the end. I am glad you like the handheld shots. However, I am unhappy with the dance scene, because I frequently lose the composition and should have stayed on the bear throughout the performance. This is not entirely my fault! Due to a problem with the SR3, the heated eyepiece function wasn't working, and so after 20 seconds, I couldn't see anything!!! I would have loved to have shot another performance, but unfortunately we just didn't have enough stock left! You are right, some of this is underexposed, although I also made the creative choice to keep some scenes darker than normal. Fortunately, we were able to bring this back up in the grade, but I didn't want to make it too bright, as this would detract from the original approach. I have to say that it looks great on a CRT monitor in a pitch black room. I can understand it being a little too dark on a laptop lcd screen, and the compression won't help matters much either :) Still, I am happy with the final film. We were working with very limited resources on this project, shooting on a 1:1 ratio! Pretty much everything in the film is one-take, apart from some short details / inserts, which we had a couple of quick takes. Thank you again for taking a look, Hope to hear from you again at some point in the future. Best wishes, Nick Eriksson Director of Photography www.nickeriksson.com
  14. Hi All, I am looking for some feedback on a recent short film I shot entitled 'Remi'. This film was made for a very low budget. Despite this, we managed to shoot on Super 16mm with a small lighting package, and I am interested in finding out what people think! The film can be viewed here: http://www.nickeriksson.com/remi Thank you for your valuable feedback / advice! Best, Nick Eriksson Director of Photography www.nickeriksson.com
  15. Hi Everyone, I am looking for feedback on a recent music promo that I shot on the Canon 7D. Please take a look at the video here: Saint Saviour - 'This Ain't No Hymn' I would have loved to have shot this video on Super 16mm, especially Fujifilm's Vivid 160, which has very punchy, vibrant colours and deep blacks. I would be interested to know how it would be possible to achieve a similar look on Super 16mm in terms of light metering. As film has a much wider latitude than video, I always wonder how much more powerful a backlight would need to be to ensure that it comes out overexposed and doesn't retain too much detail. How about the deep blue / red gels? Is any compensation necessary in terms of exposure? Thank you very much for your time and input. Best, Nick Eriksson Director of photography www.nickeriksson.com
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